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THE

EDINBURGH REVIEW,

JULY, 1855.

No. CCVII.

ART. I. — 1. The Works of Dryden: Annotated Edition of the English Poets. By ROBERT BELL. London: 1854. 2. Life and Works of Dryden. By Sir WALTER SCOTT, Bart. Eighteen vols. 8vo.

THE world, we believe, is no longer content to entrust the reputation of Dryden to the criticisms of Johnson and Malone, or to the ponderous collections of Mr. Luttrell and Sir Walter Scott. The indifference to the poetry of the eighteenth, and of a great part of the seventeenth century, which has been the fashion of the last fifty years, could but temporarily consign to the last rank of popularity a writer who had stood in the first order of intellectual merit. The era which was constituted by Dryden's genius has a special importance in having established, at a decisive juncture, the original and independent course of literature in England as distinguished from the imitative course of literature in France. We cannot forget our obligations to a period which first displayed the adaptation of our language to nearly every variety of human thought; and we cherish the works of Dryden for a national inspiration of the Satire and the Ode, for a new development of the Historic Drama, and for the reconstruction of the poetry of Romance, in a manner worthy of its imperishable celebrity in the master-writings of Cervantes, of Boccaccio, and of Chaucer. Yet it was reserved to Sir Walter Scott, a hundred and twenty years after Dryden's death, to make the first complete collection of his works. But this collection, though valuable and laborious, was ill-calculated

VOL. CII. NO. CCVII.

B

to diffuse the reputation of the great author whose memory it was justly intended to honour. The edition of Sir Walter Scott consists of eighteen thick octavo volumes, comprising an aggregate of between eight and ten thousand pages, with annotations on so gigantic a scale that, as we disturb the volumes which repose in their ancient dust, they seem to represent the organic remains of antediluvian criticism. Sir Walter, to complete the unattractiveness of his edition, has prefixed to it a portrait, presenting, in contrast to the splendid bust of Dryden in Westminster Abbey, so appalling a physiognomy of the poet, that it might fairly serve to suggest a metempsychosis of the Veiled Prophet of Khorassan.

Mr. Bell's edition of Dryden, although it does not pretend to the research and erudition of that by Sir Walter Scott, is carefully, usefully, and very creditably annotated. It has, moreover, this extrinsic advantage, that it is published at a price which will place it within the range of every reader of poetry. For it is certain, that in the imaginative literature of the last few centuries are to be found the truest representations of bygone manners, and the living elements of our social history. Mr. Bell is engaged in publishing on a similar principle editions of other eminent authors; and we trust that the public will support his design. But for the present our attention is absorbed in the works of a writer who has never, we believe, been equalled in this country in point of versatility of talent, and whose power and ingenuity of thought will serve for the instruction of all nations and of all ages.

It has been customary for the last half century to decry the writings of Dryden, as identified with what has been termed the French school of poetry. Few theories have been more inconsiderately advanced, or more inconsistently defended. No distinctive characteristic of the French literature of the seventeenth century formed a distinctive characteristic of the contemporary literature of this country. The drama of the two nations, in its most essential incidents, was based upon antagonistic principles. The unities of Time and Place, which constituted the ordinary rule of the French tragedians, scarcely constituted an exception in the plays of Dryden. The Theatre of France received generally the impress of the pure tragedy of the Greeks, while the most celebrated of the tragic works of Dryden assumed the form of the mixed drama of Romance. The use of rhyme is of far higher antiquity in this country than the age of Corneille and Racine; and even this artificial relation to the French Drama disappeared from the latest and the best of Dryden's tragedies. The modern

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